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Iranian Pre-Islamic Culture

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Pre-Islamic Iranian culture and its effect on Islamic civilization and Arabic literature
Most of us think that Iranian pre-Islamic culture and literature was totally destroyed with the invasion of the Arabs and a new culture, separate from that of the past developed under the influence of Islamic culture. But, it seems implausible that the literature and culture of people with thousands of years of history could become totally ruined or transformed in such short period and “people would fall into ignorance and bewilderment, until they reenter the world of knowledge and literature, after a long time, with the aid of other elements, and in a different manner.” On the contrary, a quick look at the history of the first centuries after the entrance …show more content…

The fourth edition of The stories of an elevator operator, a collection of sociopolitical comedies written by Pouria Alami, was published by Morvarid Publications. Morvarid also published the second edition of another story collection of this writer, titled Wrong people.
The book includes comic pieces such as: elevator, a diplomat in the elevator, student flu in the elevator, Masoud Kimiayi in the elevator, Masoud Dehnamaki in the elevator, stonewalling in the elevator, debate in the elevator, Afshin Ghotbi in the elevator, the Cyrus Cylinder between elevator doors, donkey riding in the elevator, metaphysical soul-painting is operated in this elevator, a journalist and a mortuary assistant in the elevator, Bin Laden in the elevator, Ali Karimi in the elevator, temporary wife in the elevator, etc.
It is written on the back cover of the book: “I am the only elevator operator in the world who tells you the stories of his ups and …show more content…

Writing the history of Iran’s theatre is one of his major works. This novel is written for people above forty, but I suggest the youth to read it, so that they can see the years before the revolution and the incidents during and after that, such as war before their eyes. The events that happened in our country in these periods are portrayed fully portrayed for the readers of the novel.
The romantic theme, particularly an Eastern love, is salient in the novel. I believe that today’s youth must read this novel to become slightly familiar with their past. Unfortunately, people, and mostly the specialized readers in our society, tend to read translated books and neglect the Iranian books. Hence, I believe that Iranian books must be supported more. This is why I have proposed both an Iranian and a translated novel. Through reading Dream discoverer one can review Iran’s contemporary

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Marjane Satrapi uses a variety of graphic techniques, specifically on pages 61 and 137, to describe the way that Iran’s oppressive environment has forced Marji’s young, optimistic mind to think in a way that is painfully realistic. Throughout the book, Satrapi’s style of drawing is signature and

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In Notes from the Underground, ellipses serve as a deliberate reminder to the reader of the stream-of-consciousness nature of the novel, and as a result, create the illusion that the reader has direct access to the mind of the Underground Man before he has time to process and self-censor

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This point of view makes sense because memoirs could be taken as a one sided opinion. However, a memoir’s purpose is not to submit one side over the other, but just the author’s personal accounts. This memoir can be used to see how the Iranian Revolution affected a family against the new regime and new laws. Although it does follow a girl and family against the Revolution, it still informs the reader of all the historic events that were affecting the whole country.

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The contemporary conditions that occurred in the first thirteen century in Western Iran and Central Asia generated a significant change in the Islamic history. The great Mongolian conqueror Genghis Khan became a part of the political dynamic in Western Iran, Northen Iraq, and Central Asia. In their political sphere, the Mongol yielded in tradition from their empires and brought from China all sorts of new food, plants, and art. The Iranian culture had attached a new class of craftsmanship in their culture where it differed markedly from the Arab region of Egypt and Syria in literature and visual culture and embraced a Chinese characteristic which introduced a new form of art, called the Persian miniature. Under the Mongolian control, many Iranian

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Liza, for example, treasures the qualities of romantic love while the Underground Man is incapable of love. The Underground Man’s consistent theme of contradiction is exemplified throughout the story where he experiences a multitude of emotions ranging from narcissistic and egocentric to embarrassment and humiliation. Although the Underground Man envisions himself challenging those who have wronged him, he does not have the “moral courage” to stand up for himself. By remaining in the underground, the Underground Man is able to escape from reality where is able to manufacture his own world. An argument can be made that Dostoevsky used the personal aspects of the Underground Man to show the pattern of similarities between him and contemporary society.

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In particular, the Underground Man experienced a traumatic incident where he was lifted from his shoulders and removed from the path of an officer (Dostoevsky 49). As a result of this incident, it created a profound feeling that he is meaningless to society. This act was not only humiliating but also stripped the Underground Man from his masculinity. “I could even have forgiven a beating, but I simply could not forgive his moving me and in the end just not noticing me” (Dostoevsky 49). His masculinity grants him a personal sense of power, but that had been taken from him.

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To what extent is the literary devices shown in Persepolis increase the impact of the novel and show the culture of Iran in the 1970s? In the novel Persepolis by Majane Satrapi, she tells the story of her life living in Iran in the 1970s. In this novel she discusses the atrocities committed by both sides of the bloody Iranian revolution and how both sides truly were. In the novel, Satrapi uses several literary devices to enhance the meaning of the novel to a much greater degree than directly telling the reader. Still, these literary devices also allow the reader to peer into the very culture of Iran in the novel and how certain objects can mean certain things both from within the culture and the context of the novel.

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The readers can see the transition of cultural background by noticing details within the image, for example, character’s clothing and how they dress themselves up. The transition of clothing and fashion represent cultural backgrounds that create struggles for Marjane and her search in self identity. The necessity of Iranian girls wearing veils indicates the regime taking over Iranian society further effect Marjane’s belief towards her identity. The first part of the book presents the background history of this graphic novel by saying, “In 1979 a revolution took over place.

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